When you pin losing the bonus up against fighting killers in a post apocalypse world the two don’t match each other.

What I mean is if he is going out to kill people why would he care about making a little bit more money from a bonus? As previously mentioned the world has ended as we know it and civilization has broken down. Salaries and bonuses are now meaningless it’s resources alone which will determine life and death. If the main action of the MC will be determining who lives and dies the event that sets him off on that action needs to be compelling enough to do so in a world that life and death are so easily exchanged.

That’s probably why in Mad Max the MC’s family are killed to set him off on killing the gang that did it.

The MC description also seams cumbersome “cattle drover” better one word farmer. More so in stories such as this best to specify a single antagonist rather than a generic war criminals. This way the obligatory end scene when he defeats the bad guy or gal is alluded to and the main action the MC will take for most of the film is clearer.

Hope this helps.

Sounds like a good idea for a family comedy.

I would add that this logline could benefit from specifying an inciting incident that prompts him to need to convince the mother’s ghost. This would raise the stakes for him and add weight to his need.

For example:
When a materialistic real estate agent falls in love with a poor yoga teacher he must convince the ghost of his controlling mother to let him sell the old family home to her so she can convert it to a yoga studio.

Hope this helps.